Den här uppsatsen syftar att undersöka om relationerna mellan den ryska konstsamlaren, entreprenören och filantropen Pavel Tretjakov och den ryska konstnären, ledaren för den ryska realistiska konstnärsgruppen Vandrarmålarna (Peredvizhniki) Ivan Kramskoj, har varit tvåvägsrelationerna. Med utgångspunkt i Kramskojs Porträtt av P.M. Tretjakov och brevkorrespondensen konstsamlaren och konstnären emellan, syftar den här studien att ta reda på i vilken utsträckning har Tretjakov varit estetiskt involverad i Kramskojs skapandeprocess samt undersöka om konstnären har inflytande på Tretjakovs konstsamlande. Det hermeneutiska och det historiska perspektivet används för att kunna besvara uppsatsens syfte. / This essay intends to examine whether relationship between Russian art collector, businessman and philanthropist Pavel Tretyakov and Russian painter, the leader of the group of realist artists known as The Wanderers (Peredvizhniki) Ivan Kramskoi, is a bidirectional relationship. Based on Kramskoi Portrait of Pavel Tretyakov (1876) and the correspondence between art collector and painter, this study aims to explore the extent of Tretyakov’s aesthetic participation in painter’s creative process, as well as Kramskoi’s influence on Tretyakov’s art collecting. In order to answer the above-mentioned questions are the hermeneutic and historical approaches adopted.

This essay aims to examine whether the Swedish patron Ernest Thiel had any aesthetic influence on the contemporary art scene in the late nineteenth and early twentieth century. Based on a selected group of his commissioned artworks, the study analyzes to what extent Thiel was involved in the creative process. The applied method consists of Panofsky’s iconographical- iconological method, a study of primary sources and literature of art history, and a contextual analysis based on Anne D’Alleva’s theory. The chosen method shows that Ernest Thiel was not engaged in the creative process of his commissioned artworks. Correspondence between Thiel and the commissioned artist reveal that Thiel acted more as afinancial patron, leaving the aesthetics to the artist. Rather than providing his own artistic directives, the intention with his commissioned artworks suggests that his aim was to promote and encourage the artists’ own sense of style. Furthermore, this act of patronage illustrates his genuine appreciation for the artist he supported. This study also exposes the lack of knowledge of the portrait “Porträtt av Hjalmar Söderberg” and the artistry of Gerda Wallander, from whom Thiel commissioned his artwork. The study therefore suggests further research of Gerda Wallander’s artistry as well as of Ernest Thiel’s commissioned artworks, since this is uncharted territory in art history.